H.Q.PALEN 
 
 ANNA W BINDERS OH 
 
Class__L:B tsT4J. 
 
 Book » n 3^ 
 
 GopyHghtN 
 
 COPYRIGHT DEPOSIT. 
 
WHAT AND HOW 
 
 A Systematized Course of Hand Work 
 
 FOR PRIMARY GRADES 
 FOR RURAL SCHOOLS 
 AND FOR THE HOME 
 
 
 
 BY 
 
 ANNA 
 
 \Y. 
 
 HENDERSON 
 
 AND 
 
 H 
 
 o 
 
 PALEN 
 
 
 • 
 
 
 SPRINGFIELD, MASS. 
 
 MILTON BRADLEY COMPANY 
 
 1908 
 
DEC 1* 19G8 
 
 Oopyrlfl 
 
 CLASS Ol- XXc. No 
 
 Copyright, L9 
 
 11. 0. PA] 
 
 
 ^ 
 
PREFACE 
 
 This book is intended to "bridge the gap" for the 
 little child just entering school, in a way to make the 
 change from the freedom of the home to the restraint 
 of the schoolroom less abrupt and irksome than it 
 might otherwise be, and to help the teacher arouse 
 and hold his interest through things while he is learn- 
 ing to use books. 
 
 He cannot and should not "keep still," so let us 
 keep him interestedly and profitably busy during this 
 critical transition period. 
 
 The book will also be found helpful to the mother 
 in the home, whose manifold duties often leave her 
 little time to provide something worth while for little 
 hands to do. 
 
 To the little children, their mothers and teachers 
 this book is affectionately dedicated by the authors 
 with the earnest hope it may accomplish that where- 
 unto it is sent. 
 
 H. 0. P. 
 A. W. H. 
 
 San Francisco, California, September 1, 1908. 
 
CONTENTS 
 
 Preface .... 
 
 The Problem and the Plan . 
 Stick Laying .... 
 Clay Modeling 
 
 Sewing 
 
 Form and Color 
 
 Free-hand Cutting 
 
 Weaving .... 
 
 Folding and Construction Work 
 
 The Utilitarian Side 
 
 Holiday Work 
 
 Daily Outlines for Handwork 
 
 Page 
 3 
 
 7 
 
 11 
 
 27 
 
 39 
 
 51 
 
 76 
 
 99 
 
 113 
 
 143 
 
 145 
 
 155 
 
THE PROBLEM AND 
 THE PLAN 
 
 THE PROBLEM 
 
 Probably no more persistent or puzzling problem 
 confronts the busy teacher, whether she have one 
 grade or eight, than to provide profitable occupa- 
 tional work for beginners, if they are included in 
 her classes. 
 
 This work should be more than busy-work, more 
 than merely hand work. It should appeal to the 
 combined energy of head and hand, remembering 
 that when hand work through oft repetition ceases 
 to be head work, it no longer has an educative value. 
 
 Further, it must of a necessity be work which can 
 be done independently without the direct supervision 
 of the teacher, and should be of such a nature as to 
 require the least amount of time on the part of the 
 teacher in preparation of material. 
 
 We are happily past the day in which it is neces- 
 sary to use argument in favor of manual training; 
 it now only remains necessary to convince the busy 
 teacher of several grades that she can introduce it 
 into her already crowded school program. 
 
 We receive into our public schools children six 
 years old, fresh from home freedom and activity. 
 
8 What and How 
 
 We place in their fingers pencils with which to draw 
 apples or form letters before they have the finger 
 control to guide the pencil or the training of the eye 
 to see intelligently that which is set before them. 
 
 We have each probably had at some time in our 
 school experience a "pudding-fisted" boy, six years of 
 age, perhaps, but not six years in maturity ; one who 
 handles his pencil as if it were a poker, and, save for 
 the friendly aid of pictures, is at a loss as to whether 
 his book is right side up or upside down. It is a 
 pedagogical crime to force upon this child either 
 pencil or book at this time, bringing as they do, a 
 period of discouragement, a loss of self-confidence, 
 a giving up of striving, and, finally, a sense of being 
 out of the race altogether. 
 
 Give him instead a nice soft piece of clay. Now 
 watch the transformation. How he smiles over this 
 pliable mass ! How careful the touch and pat ! How 
 proud of the finished object! Would he not like to 
 express the thought : "Take away those meaningless 
 pot-hooks ; give me something to make!" 
 
 After a few weeks when his fingers are not quite 
 so "wobbly," and the pencil is not such a long unman- 
 ageable stick, the pot-hooks will not be meaningless, 
 and, should he write a line backwards, he knows for 
 himself that something is the matter. 
 
 In schools of several grades, beginners receive 
 fifteen or twenty minutes' attention in class after the 
 opening exercises, then must wait while five, six, or 
 
The Problem and the Plan 9 
 
 possibly seven classes recite before another period of 
 fifteen minutes is devoted to them. What are they 
 doing all this time? Concentrated study is out of 
 the question at this age. 
 
 This is the period which transforms many happy- 
 faced children, who have looked forward for half 
 their short lives to the wonderful time when they 
 should first go to school, into sober little automatons, 
 or listless little pessimists who "do not see the use 
 of it," or defiant little law-breakers who play truant 
 in the face of retribution sure and swift. 
 
 Instead of "filling in" this period with haphazard 
 "busy-work," which is ofttimes a mere time killer, 
 the futility of which is evident to the child himself, 
 why not devote this time to a systematized course of 
 hand training in which there is development and 
 mental growth? This is the opportunity for laying 
 the foundations of manual training. 
 
 As to the all-important question of what to do, it 
 is the purpose of the following pages to show, not 
 only "What to do," but "How to do it" with economy 
 of both time and labor on the part of the teacher. 
 
 THE PLAN 
 
 It is not the purpose of this book to outline a spe- 
 cific course from which no departure may be taken, 
 but rather to offer suggestions along practical lines, 
 which the busy teacher may adopt and adapt as the 
 conditions of her school allow. 
 
10 What and How 
 
 As a general plan it is suggested that five occupa- 
 tions be used — one for each day of the week — from 
 the opening of the fall term until January. At first 
 glance this may seem too great an undertaking, but 
 after due consideration it will commend itself even 
 to the busiest. 
 
 If unorganized, haphazard "busy- work" is done, 
 many times five kinds of work are done if not over- 
 done in the same length of time. 
 
 By having a general scheme of work to cover a 
 certain period, the work is planned for that time, and 
 the teacher is relieved of the ever-present, harassing 
 question of "what to do" for seat work. It must also 
 be remembered that only by regular work at regular 
 intervals can satisfactory results in any line of work 
 be attained. 
 
 It is not intended, nor is it desirable, to always 
 repeat the same occupation on the same day of the 
 week, but that each occupation shall be given once a 
 week. 
 
 While, as has already been said, it is not intended 
 to lay down arbitrary work along these lines, yet, 
 for the benefit of those busy teachers whose daily 
 work it is not only to hear recitations of many classes, 
 in their numerous subjects, but also to plan their 
 work for the morrow, a daily program is added on 
 pages 156 to 159, hoping that it will to some extent 
 be the key which solves the seat-work problem. 
 
STICK LAYING 
 
 Stick laying of simple forms is the occupation 
 which may be given to the child the first day of school. 
 If our little lad, wide-eyed, and with every sense 
 alert for the keynote of his first year's work, finds 
 upon his desk, that critical first hour of the first day 
 of school, a box of sticks, he can go to work at once 
 making chairs, tables, and other familiar objects, 
 should more advanced classes engage the first atten- 
 tion of the teacher. 
 
 In copying forms, let long lines be represented by 
 long sticks whenever possible. The use of one inch 
 sticks only is a weariness to the flesh and a strain on 
 the nerves. 
 
 After the interest in this copying of simple forms 
 has waned — and it is not desirable that it should last 
 long — introduce a number element. Children delight 
 in counting; let them place forms which require 
 counting, — geometric forms or series of forms. 
 
 In this connection a number lesson is shown on 
 page 22, in which a number sequence from one to 
 nine is represented by simple forms made of sticks 
 of equal length. Other ideas will suggest themselves. 
 For instance, say to the class : "To-day you may make 
 
14 What and How 
 
 things that take just four sticks. See how many dif- 
 ferent things you can make with four sticks for each 
 one;" or, "Let the sticks count for us to-day. Put 
 one stick in the first row, two sticks in the second, 
 three in the third row, and let them count this way 
 until we have nine rows." 
 
 From these geometric and regular forms develop 
 borders. Lead the class to observe borders on books, 
 baskets, towels, etc., so that they get the idea of the 
 repeated unit; then let them invent borders. This 
 will awaken great interest and a wonderful variety 
 of results will follow. 
 
 Here we have reached inventive work, which, when 
 properly directed and controlled, is one of the highest 
 forms of educative work. 
 
 In this and all other forms of imaginative or crea- 
 tive work, the child must have the ideas before he can 
 express them. To this end graded exercises are 
 given. First, the idea of the border is developed by 
 observation and by copying from the blackboard. 
 Then unfinished borders are placed on the blackboard 
 to be copied and finished by the class. 
 
 Next, simply the unit may be given, from which 
 a border is to be developed. Suggest a border by 
 saying: "To-day make a border of squares for me," 
 or, "Make a border of the letter T. You may stand 
 it upright or place it upside down." 
 
 The first two borders on page 24 may be varied by 
 making units of groups of two or three. 
 
Stick Laying 15 
 
 Have borders made in connection with stories. 
 After reading the story of "The Little Pine Tree," 
 a border of conventionalized tree forms may be made. 
 
 By this time their heads are full of borders, they 
 are making them at odd times on paper and on the 
 blackboard, and when finally you say, "To-day I want 
 you to 'make up' a border for me," they fall to work 
 with eagerness and zeal. 
 
 The results will be faulty, but, by emphasizing the 
 good points and eliminating poor lines and construc- 
 tion, good well-balanced work will surely grow out 
 of it. In criticising this work the criticism should 
 not be so severe as to crush originality, yet out of 
 chaos a clear notion of a border must be developed. 
 Let simplicity be the keynote, so that the repeated 
 unit shows plainly. Keep the application of the bor- 
 der before the class, by having them tell for what 
 purposes their borders might be used. From stick 
 work to pencil work is but a step. It will be found, 
 however, that after this preliminary work with the 
 sticks the pencil work is more accurate, more definite, 
 and in better proportion. 
 
 In work with sticks of various lengths, designate 
 each stick by its length. For instance, say : "We will 
 use the one-inch and the two-inch sticks for our bor- 
 der to-day," or, "Use your five-inch sticks for your 
 long lines in this picture." Thus, incidentally, a 
 definite notion of the inch as a measuring unit will 
 be formed. 
 
STICK LAYING 
 
 10 
 
STICK LAYING 
 
 17 
 
STICK LAYING 
 
 18 
 
STICK LAYING 
 
 19 
 
STICK LAYING 
 
[MIEYM 
 
 A&CDIK 
 
 0R5TU 
 VWXYZ 
 
 STICK LAYING 
 
STICK LAYING— BORDERS 
 
 24 
 
STICK LAVING 
 
Reflect that the student will learn more 
 by one hour of manual labor than he will 
 retain by a whole day's verbal instruction. 
 
 The things themselves are the best ex- 
 plorative. — Rousseau. 
 
CLAY MODELING 
 
 There is no other occupation that gives quite so 
 much pleasure as clay modeling, and there is no better 
 finger training. Not only does this work strengthen 
 and educate the hand, but it necessitates observation 
 of the smallest details, — thus it leads to seeing intelli- 
 gently. 
 
 Clay modeling is excellent for individual seat work, 
 as well as for class work. After a preliminary lesson 
 in which it is shown that it is with the fingers rather 
 than with the palms of the hands the work must be 
 done, the clay, and, whenever possible, the object, 
 may be given to the pupils while the teacher has 
 other classes. This is not merely "busy-work" ; it is 
 more than "busy-work," for it is a form of expression 
 through material things. 
 
 The results will be crude. It is not a lesson in fine 
 art, but the desired result will be attained if it has 
 opened the eyes of the child to the details of the ob- 
 ject before him, and if he has expressed his image of 
 it by means of his hands. Notwithstanding a some- 
 what prevalent opinion to the contrary, this mate- 
 rial is neither troublesome, nor, as is ofttimes stated, 
 "mussy," if properly cared for. If a good quality of 
 clay is used, it is clean, and requires but a few min- 
 utes' care after each time it is used. 
 
30 What and How 
 
 THE CARE OF THE CLAY 
 
 To prepare it for use 'for the first time, place the 
 dry clay or clay flour in a cloth sack and immerse in 
 water until the flour is wet thoroughly. Put the 
 clay, still in the sack, away in a stone crock or covered 
 tin pail over night. If, on the next day, it is too 
 sticky to knead, leave it exposed to the air for a few 
 hours. It should then be kneaded into large lumps, 
 placed again in the sack, slightly dampened, left over 
 night in the jar, when it will be ready for use. 
 
 After the clay has been used, the models should be 
 kneaded into lumps again, placed in a freshly damp- 
 ened sack, put away in a covered jar, and it is ready 
 for use the next day or the next week. 
 
 If at any time the clay becomes too moist or sticky, 
 exposure to the air will remedy this, while wetting 
 the sack will be equally effective if it becomes too dry. 
 In the right condition, clay will not stick to the fin- 
 gers, which indicates that it is too soft ; or crack while 
 using, which shows that it is too hard. Never wet 
 the clay; moisten it by wrapping it in a damp cloth. 
 
 It is more sanitary to keep each individual's clay 
 separate. To do this, a small cup with an impro- 
 vised cover, or a jelly glass with a top, can be supplied 
 by each child. By the use of these a well-founded 
 objection to the use of clay is overcome. Not only is 
 this plan better from a sanitary point of view, but it 
 will be found that the clay is more easily cared for in 
 this way. 
 
Clay Modeling 31 
 
 After the class has finished modeling, pass among 
 them, selecting two or three of the best forms to be 
 saved. Give new clay from a reserve supply, which 
 should be kept on hand, to those whose work was 
 taken, then let each child wrap his own clay in a 
 freshly dampened cloth, and put it away in his own 
 glass. Have the glasses collected and put away by 
 rows or classes. 
 
 We are getting away from the old idea that all 
 the class must be doing the same thing at the same 
 time. With the clay in individual glasses, in an easily 
 accessible place, it will ofttimes be convenient for the 
 teacher to say to some unoccupied child, "If you have 
 finished your work, you may get your clay." 
 
 A square of oilcloth may be used to protect the 
 desk, and has the advantage of being noiseless and 
 easily handled. 
 
 Amount. — Five pounds of clay flour are enough for 
 a class of twelve for a year. 
 
 A FEW GENERAL DIRECTIONS 
 
 The accompanying cuts do not outline a specific 
 course. It is left to the teacher to govern her work 
 by the material she has at hand, and the aptitude of 
 her pupils. 
 
 Give this work a local interest by modeling the 
 fruits, vegetables, leaves, and nuts which grow in 
 the vicinity; by reproducing either the reading les- 
 
32 What and How 
 
 son, or some feature connected with it ; or by relating 
 it to the nature study or drawing whenever possible. 
 
 In making fruits with stems, a "pinch" of clay 
 should be set aside for the stem. By rolling this small 
 piece between the thumb and finger, a slender stem 
 is made. A hole is then made in the fruit with the 
 clay knife or pencil into which the stem is inserted, 
 care being taken to work the model at the base of the 
 stem in order to make it secure. 
 
 In joining two surfaces, as the handle to the cup, 
 prick lightly the parts to be joined with the clay knife 
 or point of pencil, making rough surfaces, which join 
 more readily. 
 
 CLAY KNIVES 
 
 For the cup, a cylinder is made, a small piece is 
 cut out with the clay knife, then hollow it out with 
 the thumbs, keeping the walls straight. 
 
 BAS-RELIEF OR FLAT MODFLING 
 
 Flat modeling is very simple and very fascinating 
 work. Drawing in the higher grades may be varied 
 and made more interesting by the introduction of 
 this work. 
 
Clay Modeling 33 
 
 A tile about one inch thick is made by working the 
 clay bit by bit into the size and shape required. With 
 this as a foundation, using additional clay, model flat 
 objects in bas-relief. When modeling animal forms 
 they should be built on a tile for the foundation or 
 pedestal. 
 
 Clay is an excellent medium for imaginative work. 
 Suggest a country scene, recall a mental picture or a 
 familiar story, and let the class work it out with clay 
 on a tile. 
 
 Clay will be found useful and effective in repre- 
 senting Indian, Esquimau, early Pilgrim, and other 
 race history studies. As this requires more than one 
 individual's portion of clay, it is well to allow several 
 to work together on such a plan. 
 
CLAY MODELING 
 
 34 
 
CLAY MODELING 
 
 35 
 
CLAY MODELING 
 
CLAY MODELING 
 
 37 
 
EXPLANATORY NOTE 
 
 We regret that we were unable to procure 
 printing inks that would exactly express the purer 
 color tones of the "Bradley Color Scheme," on 
 which the color work in this book is based. We 
 believe, however, that the close approximations 
 obtained will not materially lessen the value of 
 these exercises for the early development of the 
 color-sense in children, which they are intended to 
 accomplish. 
 
 H. 0. P. 
 
Th child must and will us< - art. 
 hand and head. The longing for ac: 
 exists in his nature, and. if not developed in 
 
 ight channel, will be developed i 
 opposite direction. — Mme. Kraus-Boelte. 
 
SEWING 
 
 Sewing is another occupation that is a boon to the 
 busy teacher oi' several grades. 
 
 Give a child a sewing card, a big-eyed needle and 
 a bit of colored thread, and he is busily and profitably 
 occupied as long as may be desirable. 
 
 "Hut of what use — this putting the needle in one 
 side and out of the other?" seme one may ask. In 
 this occupation deftness and delicacy of touch and 
 linger control are acquired, — "hand control leads to 
 self-control." The close attention required here 
 develops the power of concentration sc^ necessary in 
 other lines of work. 
 
 Sewing, it should be remembered, is a means of 
 form and color study as well as hand training. Forms 
 of life which can be represented by long stitches and 
 not lose in effect thereby, are not only pleasing to the 
 child, but are a means of teaching and observing form 
 and color in nature as well. This affords also oppor- 
 tunity for imparting a familiar knowledge of form 
 by sewing squares, triangles, circles, and other reg- 
 ular forms. 
 
 The muscular action will at first monopolize the 
 whole attention oi' the child. In his interest and anx- 
 iety to put the needle in the exact hole in which it 
 belongs, his tongue and facial muscles will work in 
 
42 Wh at and How 
 
 sympathy, but his satisfaction in the completed card 
 must not be marred by crude forms or color discords. 
 Circular lines should be sewed with large worsted, 
 which adapts itself kindly to curves. 
 
 In matching colors, when sewing fruits or flowers, 
 color tones should be softened, or jarring and dis- 
 turbing combinations will result. It should be re- 
 membered that lights and shadows are constantly 
 playing on and mellowing nature's color harmonies, 
 which must be taken into consideration when per- 
 petuating the same in embroidery or painting. The 
 point in view should not be, "Does this match exactly 
 this leaf or that flower?" but, "Do these colors make 
 a harmonious whole?" 
 
 The study of borders which was introduced in the 
 chapter on stick laying can be continued and devel- 
 oped further in sewing. 
 
 When forms of life are sewed, they may be col- 
 ored with water-colors or crayons, so that they ap- 
 pear in mass — a hard outline inclosing a white space 
 means nothing to a child. 
 
 Blunt-pointed tapestry needles, 
 No. 18, with zephyr or silk-finish 
 crochet cotton, are the accesso- 
 ries. At first, have the needles 
 threaded and threads knotted 
 ready for use. Let these two 
 operations be the object of a few 
 minutes' lesson at some future time. 
 
Sewing 43 
 
 The outline of the form is gone over twice. The 
 first time each alternate stitch is taken, as in the 
 accompanying diagram. The second time the "gates 
 are closed," making a continuous outline. 
 
 Sewing should always be a lesson in neatness; no 
 careless work should be allowed; the wrong side of 
 the card should appear as neat as the right side. 
 
 The most desirable cards are those with simple 
 forms and few lines, having large perforations made 
 by removing a small disk. The strain on the eyes 
 caused by the pricked cards so full of detail, formerly 
 used, is thus removed. In selecting cards for begin- 
 ners those having an unbroken or continuous outline 
 should be chosen. 
 
 Amount of Material. — This varies with the apti- 
 tude of the class and the cards used. Eight cards of 
 an average amount of detail are usually enough for 
 the average child working once a week from the open- 
 ing of the fall term till Christmas. 
 
 Have patience with mistakes at first, remember- 
 ing how difficult it is to handle such a small imple- 
 ment as a needle and watch the pattern and keep 
 your thread from tangling, — that is, if you are only 
 five or six years old. 
 
A COLOR SEQUENCE IN SEWING — RED, ORANGE, YELLOW 
 
 44 
 
A COLOR SEQUENCE IN SEWING — GREEN, BLUE, VIOLET 
 
 45 
 
SEWING 
 
SEWING 
 
 47 
 
 
 
 ™ !■■ n 
 
JEWING 
 

 19 
 
ORM 
 
 and 
 
Frequent complaint is modi of over- 
 pressure in schools, but it is not work which 
 causes over-fatigue so much as lack of in- 
 terest and lack of conspicuous progress. 
 
 The best way to diminish the strain is to 
 increase interest, attractiveness, and the 
 - si of achievement and growth. — Eliot 
 
FORM AND COLOR 
 
 The materials for this course are colored paper, 
 scissors, tablets, parquetry forms, paste, and a plen- 
 tiful- supply of white practice paper for free-hand 
 cutting. Water-colors or crayons may be used for 
 coloring and decorating forms which have been cut 
 from white paper. 
 
 Parquetry is the name given to colored papers 
 obtainable in small geometrical forms for perpetuat- 
 ing design work with tablets. By the use of these in 
 making borders, rosettes, and various other designs, 
 the eye and hand are trained, symmetry is developed, 
 and by working with the forms themselves an inti- 
 mate knowledge of form is acquired. 
 
 Color and form are so closely associated that the 
 study of one naturally embraces the study of the 
 other. 
 
 The study of color is both important and practical. 
 It is as necessary that the eye should be trained to 
 discriminate to a nicety between color-tones, and be 
 able to make pleasing combinations of color, as that 
 the ear should discriminate between sounds and know 
 harmony from discord in music. 
 
54 What and How 
 
 While some people are born with an appreciative 
 eye, or soul, for the harmonies of nature's colors with 
 their iridescent lights and shades, there are many 
 more who pass them by, not seeing them, and stand 
 helplessly dumb before masterpieces of art. It is 
 not necessary here to enter into platitudes on the 
 influence of this appreciation of the beauty about us, 
 for in a more or less definite way we all believe it 
 has an elevating and uplifting influence. So let 
 those who have themselves walked in darkness be not 
 afraid of their own blindness, but with, and as one of, 
 the children seek the light. 
 
 To demonstrate the practicality of the study of 
 color, not only its importance to milliners, dress- 
 makers, florists, furniture dealers, house decorators, 
 and many other trades needs be cited, but its influence 
 in the home and in dress is so great that, consciously 
 or unconsciously, it affects every individual's happi- 
 ness in a greater or less degree. 
 
 The Six Standard Colors. — The solar spectrum is 
 divided into the following six colors called standards, 
 — red, orange, yellow, green, blue and violet. 
 
 The recognition of these with their names consti- 
 tutes the principal part of the color work for the first 
 year. The recognition of these means a correct 
 mental concept of each standard, formed by handling 
 and working with the purest colors obtainable, after 
 which the tints and shades and hues will group them- 
 
Form and Color 55 
 
 selves about these absorbed images of the standards 
 in martial order. 
 
 Color may be presented by making a projection of 
 the solar spectrum in the schoolroom by means of a 
 glass prism. This little "sun-fairy" is a never-ending- 
 source of wonder and delight to the little ones. Let 
 them pick out the colors they know and learn the 
 names of those with which they are unfamiliar. 
 Make a chart of the six standards for the schoolroom, 
 and let each child make one for himself. 
 
 In the scale of any one color, the tones lighter than 
 the standard are called tints, those darker than the 
 standard are called shades. Children should early 
 learn to use these two terms, tint and shade, correctly. 
 To this end the "families" of some of the colors 
 should be presented. The "red family," for in- 
 stance, consists of the standard red, its shade, and its 
 tint. Many applications of these combinations can 
 be made in rosettes, borders, tile patterns, etc. Call 
 attention to the color scales in nature, how the light 
 makes tints, and the shadow shades, on leaves, fruits 
 and flowers. 
 
 A tint and a shade should be added to each color 
 on the color chart. A collection of bits of cloth, glass, 
 buttons, tablets, colored paper, etc., may be made for 
 matching and comparing with the chart. Give each 
 child the six standards with a tint and a shade of each 
 in parquetry forms and let him arrange a chart sim- 
 ilar to the one shown on page 67. 
 
56 What unJ How 
 
 A WORD ON COLOR HARMONIES 
 
 A hue is a spectrum color, it may be red, it may 
 be orange, or it may be applied to the colors which 
 lie between these two in the spectrum — orange-red or 
 red-orange. The term standard is used to designate 
 
 the pure colors, rod. orange, yellow, green, blue, vio- 
 let ; by hues we include not only the standards, but all 
 the colors formed by the mixture of {Hire colors. The 
 term is usually applied to the colors found between 
 the standards in the color spectrum called "interme- 
 diate hues." In the composition of the pure hues 
 there is no white, black, or gray, so that though a 
 scale may be formed of each hue with its tints and 
 shades, and thus we have tints and shades of a hue, 
 yet the term "hue" cannot be applied correctly to a 
 tint or a shade. 
 
 A scale of color is that color arranged in steps or 
 degrees from a shade to the standard and from the 
 standard to the corresponding tint. Each color-note 
 in a scale is called a time. A scale may be made up 
 of but three tones or it may be made tip of an indefi- 
 nite number, according to the gradation between ad- 
 jacent tones. 
 
 Combinations of the standard colors are usually 
 harsh or crude if the pure colors are used, though the 
 tints or shades of one may be successfully combined 
 with those of another. 
 
Iu> r m a // d Color 57 
 
 A dominant harmony is a harmony made from dif- 
 ferent tones of one scale. Imagine a scale of the 
 standard yellow, graded from a pale tint at the top 
 to a deep shade at the bottom; a picture or design 
 made up of various yellows from this scale is a domi- 
 nant harmony in yellow. In the study of color with 
 children it is a wise plan to keep them to dominant 
 harmonies or combinations of grays with spectrum 
 colors, else their lack of color judgment may lead to 
 riotous and warring combinations. 
 
 Form as dealt with in this chapter treats only of 
 surface forms. It is left to the teacher to develop 
 the relation between these and the type solids. 
 
 Children should early learn to recognize and name 
 the following forms, — circle, square, semicircle, tri- 
 angle, and rectangle. This may be done by tracing 
 the form from tablets, and cutting it, and by work 
 with parquetry forms. The familiar knowledge and 
 use of the names of these forms may be taught by 
 dictation exercises with tablets, which may after- 
 ward be mounted in parquetry. 
 
 For example: Pass to each member of the class 
 one square and four semicircles of parquetry forms, 
 a square of mounting paper and paste. 
 
 Dictate as follows : Place the square in the center 
 of the paper with one side (rather than one corner) 
 toward the front. Before pasting, inspect the posi- 
 tion of this square. If intricate patterns are to be 
 
58 What and How 
 
 mounted, a vertical line and a horizontal line through 
 the center of the mounting sheet is advisable. 
 
 Place a semicircle at the left of the square, as near 
 as possible without overlapping. 
 
 Place a semicircle at the right of the square. 
 
 Place a semicircle at the back of the square. 
 
 Place a semicircle at the front of the square. 
 
 Do not hesitate to show each step by means of 
 larger tablets or blackboard diagram until the pupils 
 are able to work from dictation alone. 
 
 In the foregoing exercises with parquetry forms it 
 is assumed that one or more previous talks had been 
 given upon these two forms, still the word, "semi- 
 circle," being an unfamiliar one, may not suggest 
 the half circle until practical work with the form has 
 been done. 
 
 For cutting quarterfoils, four-pointed stars, four- 
 petaled flowers, fold the paper in halves, then double 
 it into quarters, then once again diagonally into 
 eighths, then cut half of the one fourth of the design, 
 for instance, half of one point of the star, which is 
 an oblique line, or half of one petal of the flower. 
 When opened out the unit is repeated four times 
 about the center. 
 
 An infinite number of original designs may be 
 made by folding into eighths, then cutting free-hand 
 designs of various shapes. 
 
 In the following exercises the type forms presented 
 are to be traced from tablets, then cut and mounted. 
 
Form and Color 59 
 
 This is for form study and must not be confused with 
 free-hand cutting. It will be noticed that the six 
 standard colors are used in making these forms. 
 
 The designs in parquetry should first be made with 
 tablets. In placing designs for borders, symmetry 
 and balance are developed by placing the middle unit 
 first, then working from it to each side. 
 
FORM AND COLOR 
 60 
 
FORM AND COLOR 
 
 61 
 
FORM \NP COl OK 
 
DESIGNS FOR PARQUETRY OR TABLETS 
 
 68 
 
J* 
 
 DESIGNS FOR PARQUETRY OR TABLETS 
 
 04 
 
DESIGNS FOR PARQUETRY OR TABLETS 
 
 65 
 
A* 
 
 \^X' 
 
 DESIGN FOR PARQUETRY OR TABLETS 
 
 GO 
 
COLOR CHART SHOWING SIX STANDARDS WITH A TINT AND A SHADE OF EACH 
 
 67 
 
DESIGN FOR rABLETS OR PARQUETRY 
 
 68 
 
DESIGN 1 OR TABLETS OR PARQUETRY 
 69 
 
THE RED FAMILY 
 
 70 
 
THE ORANGE FAMILY 
 
 71 
 
\ 
 
 _ 
 
 K,KI Ml \l \1)K l\\ 1'OIDING PAPER INTO EIGHTHS 
 
 THE 
 
 YELLOW FAMILY 
 
THE GREEN FAMIl \ 
 
 73 
 
THE BLUE FAMILY 
 
 74 
 
This "tile pattern" is made by pasting the outer rim of violet 
 shade and the inner one of standard violet on a foundation square 
 of the violet tint. Both designs were cut from the paper after 
 being folded into eighths. 
 
 THE VIOLET FAMILY 
 
FREE-HAND CUTTING 
 
 As early as the child is able to handle the scissors 
 it is his delight to cut. How many hours are spent 
 before the school age in cutting aimless strips or 
 "cutting out" pictures! 
 
 With great delight the children greet their old 
 friend the scissors in the schoolroom; and still greater 
 is their pleasure to discover their ability to cut pic- 
 tures of their own. 
 
 In free-hand cutting no outline is made with the 
 pencil. A drawing may be placed on the blackboard, 
 ov some simple object placed before the class; scissors 
 and common white or manila paper are given to the 
 children. Show them how by cutting before them; 
 i hen let them cut out the form entirely free-hand. 
 The results will be crude at first, but, with patience 
 on the part of the teacher and perseverance on the 
 part of the pupils, in a short time they will show 
 great facility in the use oi' the scissors. 
 
 It is best to make the drawings on the blackboard 
 solid white. Children do not think in outlines. 
 
 The first form, the circle, is attractive to the chil- 
 dren as a dollar, the small circles then become dimes 
 and quarters. Those with "corners" are rejected as 
 "bad money." It is surprising to see their avidity 
 
Free- II and Cutting 77 
 
 for accumulating money at this early age under these 
 circumstances. 
 
 Under the study of form, exercises in tracing 
 around the circular tablet and then cutting are given. 
 This is valuable for getting the rotary motion of the 
 scissors. 
 
 From the circle to the fan, apple, or pear is but 
 a step, and the road thereafter is optional with the 
 teacher. 
 
 Usually white or manila paper is used for this 
 work, but for decorative purposes colored paper or 
 colored crayons may be introduced. 
 
 This is ideal seat work and is one of the best occu- 
 pations for the lower grades while other recitations 
 are being heard. It should always be a lesson in 
 neatness and order. Scraps should be picked up 
 and the wastebasket passed each time. A square of 
 cloth for a scissors-mat protects the desk and also 
 prevents noise. 
 
 Various plans will suggest themselves for keeping 
 the good work. The cuttings may be pasted on 
 mounting cards and displayed about the room. The 
 best cuttings may be selected and kept in envelopes 
 by the children and pasted in individual scrapbooks 
 once a week. 
 
 Imaginative work in illustrating reading lessons, 
 stories, or verses is important. Mother Goose rhymes 
 are suitable for this work. 
 
A SUGGESTIVE OUTLINE 
 FOR CUTTING 
 
 First Month.— Round Things. 
 Circle Fan 
 
 Pear Balloon (p. 98) 
 
 Apple Japanese Lantern (p. 154) 
 
 S( cond Month. — Straight Line Objects. 
 Boat Cup 
 
 House Hat 
 
 Tools (p. 81) Coffee Mill 
 
 Third Month.— Harvest. 
 
 Leaves Vegetables 
 
 Fruit 
 
 Thanksgiving Pictures — 
 
 Wigwam 
 Canoe 
 Mayflower 
 Pilgrim 
 Fourth Month. — Christmas. 
 
 Toys — Horns Drums Boat 
 
 Tops Dolls Balls 
 
 Guns Dishes, etc. 
 
 Fireplace 
 Tree 
 Bells 
 Santa Claus 
 
A Suggestive Outline for Cutting 79 
 
 Fifth Month. — Simplified Animal Forms. 
 
 Cat Squirrel 
 
 Rabbit Elephant 
 
 Pig 
 Sixth Month.— 
 
 Sunbonnet Baby 
 
 Pose work, using children as model 
 
 Cut from memory- 
 Things seen on way to school 
 Things mother uses in kitchen 
 The tools a carpenter uses 
 Seventh, Eighth, and Ninth Months. — 
 
 Songs and flowers 
 
 Continue to copy to some extent, but the most 
 of the work should be original 
 
 Illustrate songs, reading lessons, and stories : — 
 Chicken Little 
 Ugly Duckling, etc. 
 
 In all this work review frequently, but do not 
 attempt to keep to one model until it is perfected to 
 the extent of weariness or monotony. 
 
FREE-HAND CUTTING 
 
 80 
 

 FREE-HAND CUTTING 
 
 81 
 
FREE-HAND CUTTING 
 
 82 
 
FREE-HAND CUTTING 
 
 83 
 
\ 
 
 J 
 
 XT 
 
 
 H 
 Z 
 
 P 
 
 o 
 
 s 
 
 
 
 z 
 
 H 
 P 
 
 u 
 
 Q 
 Z 
 
 84 
 
85 
 
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 S7 
 
88 
 
^--'ixrt^c. 
 
 ^^^#>^-;.r 
 
 \* >**N*»tt&£&fe» ><f ••akVd.X^ -. Vv 
 
 
 STIL1 SITS 1H1 SCHOOLHOUSE B\ lit! KOUV 
 
 FREE-HAND CUTTING MOUNTED. WITH CRAYON TOUCHES 
 
FREE-HAND CUTTINGS MOUNTED, WITH CRAYON TOUCHES 
 

 vv 
 
 FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHE! 
 

 Ii l\ simple boat, which on account of itsB 
 straight lines maybeqiven early in I 
 the year. 
 
 2- A.more difficult one for more advanced ■ 
 workers Requires sharp scissors. 
 
 3-^pplicafion of boat in simple picture 1 
 usinq colored paper and crayons. H 
 Sn permanent form this would not H 
 appear on this paqe, but on a page with ■ 
 several similar picture suggestions | 
 
 
 
FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 
 
 94 
 
ts ^%* 8 . ^iitefc 
 
 ick went to call on 
 Mr Turkey" 
 Showind that by • 
 
 FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 
 
 95 
 
"THK UGLY DUCKLING" 
 
 FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 
 
 96 
 
LET US GO AND TELL THE KING "-THE STORY OF CHICKEN LITTLE 
 97 
 
FREE-HAND CUTTING MOUNTED, WITH CRAYON TOUCHES 
 
//, instead of chaining a child to his 
 books, I occupy him in a workshop, his 
 hands labor to the profit of his spirit, he 
 becomes a philosopher, though he thinks he 
 is only a workman. Now, of all the occu- 
 pations which serve to furnish subsistence 
 to man, that which brings him back to 
 Nature again most closely, is the work of 
 h is hands. — Rousseau. 
 
WEAVING 
 
 If, as is ofttimes stated, the development of the 
 child is along the same lines as that of the race, then, 
 indeed, is weaving a natural impulse, being one of 
 the oldest industries as well as one of the first occu- 
 pations of all primitive peoples. 
 
 Weaving trains and strengthens the hand. By 
 giving work to both hands it is valuable for develop- 
 ing hand dexterity. It lays a foundation in design, 
 thus is an excellent preparation for the loom weav- 
 ing which is finding its way into higher grade work. 
 In addition to these, there is a number element, for 
 in every pattern the child must count. Take, for 
 instance, the pattern over three and under three ; at 
 first he counts laboriously, "one, two, three," each 
 time, until by oft-repetition he recognizes three as a 
 whole and has no need of counting. 
 
 Weaving furnishes an occupation for desk or class 
 work. The material consists of mats cut into strips 
 with a margin all round, and a set of strips joined at 
 each end, but without a margin. Strips detached 
 from the latter are woven into the former by means 
 of a long weaving needle. This occupation will need 
 an introductory lesson, in which the work is dictated, 
 strip by strip. For this first practice work linen or 
 other mats with wide fringes are recommended. 
 
102 What and How 
 
 Thin wooden slats may be used as weavers for this 
 first lesson. After the idea has been mastered with 
 these materials, the paper mat and long steel needle 
 may be used. 
 
 Color Harmonies. — While the child's love of bright 
 colors should be gratified, at the same time an appre- 
 ciation of pleasing and harmonious combinations 
 should be fostered. This is an opportunity for teach- 
 ing color, to which end the standards with their tints 
 or shades, or with neutrals, should at first be pre- 
 sented. In later work there is no reason why any 
 pleasing combination should not be used. It were 
 wise to make the matter a subject of careful study, 
 however, remembering that it requires a trained or 
 gifted eye to make these combinations, and that many 
 color crimes are committed in the name of harmony. 
 
 The first six of the designs presented form a se- 
 quence as numbered. In schools in which this work 
 is given as desk work without the supervision of the 
 teacher, mats of the first design, over one and under 
 one, should be given until pupils learn how to start 
 each strip. 
 
 If possible, dictate the first lesson in weaving, strip 
 by strip. 
 
 A mat with an even number of strips is preferable 
 at first. In using these, by starting first at the right 
 and then at the left, each strip is started like the one 
 before. This necessitates the use of both hands, and 
 is a joy to the left-handed child. If there is an odd 
 
Weaving 103 
 
 number of strips, it must be started first under the 
 first strip, the second time over the first strip, the 
 third time under again, and repeated in this way all 
 the way down, beginning on the same side each time. 
 
 The remainder of the designs are given for ad- 
 vanced work, or for those pupils who accomplish more 
 than the rest of the class. For large mats repeat 
 the pattern as often as the size of the mat allows. 
 Small work and intricate patterns are not desirable; 
 the ability used to make these had better be directed 
 into some other channel. Weaving is a means to an 
 end, and not the end itself. 
 
 Much weaving may become a weariness to the flesh 
 unless a new cause for satisfaction, either by its 
 greater beauty or its application to forms of use, is 
 born with each mat. 
 
 Weaving mats may be put to various uses, some 
 of which are shown in another part of this book. In 
 addition they make bedspreads, table covers, and 
 even rugs for the playhouse. They also make pretty 
 and appropriate book covers for books of school work. 
 
 Each pupil should be provided with a manila paper 
 case in which his mats and needle are kept ; thus the 
 distribution of materials is simplified. 
 
 To finish mats, trim away projecting ends and 
 fasten each strip in place by pasting along the mar- 
 gin on the wrong side. 
 
WEAVING DESIGNS 
 104 
 
WEAVING DESIGNS 
 
 105 
 
WEAVING DESIGNS 
 
 106 
 
WEAVING DESIGNS 
 
 IDT 
 
WEAVING DESIGNS 
 
 108 
 
WEAVING DESIGNS 
 
 109 
 
WEAVING DESIGNS 
 
 110 
 

 rz 
 
 - 
 
 i i 
 
 
 
 ____ 
 
 , — 
 
 WEAVING DESIGNS 
 
 111 
 
^M^= 
 
 FOLDING 
 
 and 
 
 CONSTRUCTION \ 
 WORK 
 
It is not the knowledge that is stored up 
 as intellectual fat which is of value, but 
 that which is turned into intellectual mus- 
 cle. — Herbert Spencer. 
 
FOLDING AND 
 CONSTRUCTION WORK 
 
 FOLDING 
 
 This occupation is invaluable for mental discipline, 
 for accuracy, and for the training of the hand and eye. 
 
 The mind must be intent upon the work, in order 
 that each dictation may be executed with alacrity 
 and accuracy. The interest in making these forms 
 and the pride in the finished object is intense. 
 
 Very early the child learns that one careless fold 
 spoils the symmetry and beauty of the form. After 
 the first two or three lessons the corners folded upon 
 corners will not be a hair's breadth apart. 
 
 In giving a dictation exercise, show the class by 
 making the fold whenever necessary. It is as valuable 
 and as practical a lesson to learn to observe closely as it 
 is to follow dictation. 
 
 It is an ironclad 
 rule that the square 
 must not be lifted from 
 the desk, nor must it 
 be turned to facilitate 
 folding, except when 
 so dictated, otherwise 
 certain confusion will 
 follow. 
 
 In the following ex- 
 ercises it is not in- 
 
 FRONT EDGE 
 
116 
 
 Wh at and How 
 
 tended that these dictations shall be given verbatim 
 to the class. They are made very simple, however, 
 and will require but slight adaptation. 
 
 The edge next the front of 
 the desk is the front edge of the 
 paper; the opposite edge, cor- 
 responding with the back of the 
 desk, is the back edge. 
 
 1. Wall Pocket.— Fold front 
 edge to back edge. Unfold. 
 Fold right edge to left edge. 
 Unfold. Turn the square so that 
 one corner points to the front. 
 Fold the right corner to the 
 center. 
 
 Fold the left corner to the center. 
 Fold the front corner to the center. Use a piece 
 of parquetry paper to paste the three corners at the 
 center. 
 
 2. Envelope. — Fold the wall 
 pocket. Fold the fourth cor- 
 ner to the center. To save a 
 vast amount of useless repe- 
 tition several dictations have 
 been combined in the one above, 
 'Told the wall pocket," but 
 when working with the class 
 each dictation should be given 
 separately each time. 
 
Folding and Construction Work 
 
 117 
 
 3. Sailboat. — Fold the envelope, turn the form 
 over, with one corner pointing to the front. It is 
 now a small square, plain side up. Fold the front 
 corner to the center. Turn the form over. It is the 
 sailboat. 
 
 A. Clock. — Fold the envelope. Turn the form 
 over, placing it so that a corner points to the front. 
 Fold the front corner to the center. Fold the right 
 corner to the center. Fold the left corner to the 
 center. Turn the form over. Here we have two 
 corners that meet at the center like the closed doors 
 of a tent. Each of these corners must be lifted and 
 folded back to open the doors. A small clock face 
 cut from a jeweler's catalogue and pasted on this 
 form completes the clock. 
 
 5. Picture Frame. — Fold the 
 envelope. Turn the form over, 
 plain side up, with one corner 
 pointing to the front. Fold 
 each corner to the center. In 
 dictating do not give a general 
 dictation, but fold one corner, 
 
118 What and How 
 
 then its opposite, the third, then its opposite, thus 
 developing the idea of symmetry. Turn the form over. 
 Fold the front right corner at the center back so that 
 it lies on the front right-hand corner of the square. 
 Give this direction for each corner at the center. 
 
 6. Cake Basket. — Fold the picture frame. Turn 
 the form over. Here we have four corners which meet 
 
 at the center. Fold the corner next the front back to 
 the middle of the front edge. Repeat this fold with 
 each of the remaining corners at the center. 
 
 Turn the form over. Using a straight strip for a 
 handle, insert the ends of the handle into two oppo- 
 site corner pockets and paste. 
 
 7. Saltcellar. — Place the square on the desk with 
 one corner to the front. Fold the front corner to the 
 back corner. Unfold. 
 
 Fold the right corner to the left corner. Unfold. 
 
 Fold the envelope. 
 
 Turn the form over, plain side up, with one corner 
 pointing to the front. Fold each corner to the center. 
 
Folding and Construction Work 
 
 119 
 
 Turn the form over. There are now four corners 
 meeting at the center. Slip the little finger deep into 
 one pocket, the third finger into the 
 next, the first finger into the next, 
 the thumb into the last. In doing 
 this it will be found that the cor- 
 ners have a tendency to bend down- 
 ward. Fold them down by bring- 
 ing the fingers together until the 
 four corners come together at one point. Upon re- 
 moving the fingers, the corners will naturally spread 
 a little and the saltcellar will stand on four points. 
 
 8. King's Crown. — Fold the diagonals. This dic- 
 tation is given in folding the saltcellar. Fold the 
 envelope. Turn the form 
 over. Fold each corner to 
 the center. Turn the form 
 over, placing it on the desk, 
 so that one corner points to 
 the front. Again we have 
 the four pockets, the corners of which meet at the 
 center. Slightly raise the corner of the right-hand 
 pocket ; also of the left-hand pocket. Fold the front 
 corner to the back corner, at the same time keeping 
 the right and left pockets 
 open so they will not be in- 
 cluded in this fold. Press 
 these two corners down 
 toward the back. 
 
120 
 
 What and How 
 
 9. Queen's Crown. — Fold diagonals. Fold the en- 
 velope. Turn the form over. Fold each corner to the 
 
 center. Turn the form 
 over, one corner at the 
 front. Turn the corner 
 of the right-hand 
 square which touches 
 the center back so that 
 
 it lies on the outside corner. This fold is the same as 
 
 the turning back of the corners of the picture frame. 
 
 Repeat with the corner of the left-hand pocket. 
 
 Raise these little half 
 
 pockets and fold the 
 
 front corner to the back 
 
 corner as in making the 
 
 king's crown. 
 
 10. Soldier's Cap. — 
 Fold the diagonals. 
 Fold the back edge to the front edge. Do not unfold. 
 Take the back right-hand corner of this rectangle, 
 
 bring it forward be- 
 tiveen the two corners 
 at the front to the mid- 
 dle of the front edge. 
 In the same way bring 
 the back left-hand cor- 
 ner forward to the mid- 
 dle of the front edge. There are now two corners, one 
 on top of the other at each side. Fold the upper cor- 
 
Folding and Construction Work 
 
 121 
 
 ner at the right to the vertex of the 
 triangle. Fold the upper corner at the 
 left to the vertex of the triangle. 
 
 11. Christmas Tree. — Cut a green 
 rectangle, made by cutting a 4x4 
 square in halves, into a fringe with 
 strips about one eighth of an inch 
 wide. Wind these, using paste, first 
 one then the other, around a five-inch 
 green stick, about half way down. A 
 small hemisphere of clay for a base 
 will make it stand alone. 
 
 1 2. Windmill. — Fold diagonals and 
 unfold. Fold front to back. Un- 
 fold. Fold right to left. Unfold. 
 Fold the middle of the front edge to 
 the center. Fold the middle of the 
 back edge to the center. 
 
 Fold the middle of the right 
 edge to the center. This must 
 leave the two corners stand- 
 ing upright like two ears. 
 
 Fold the middle of the 
 
 left edge to the center. 
 
 All of the corners are 
 
 now standing ; fold them 
 
 flat so that one points to the 
 
 back, one to the right, one to 
 
 the front, one to the left. 
 
122 What and How 
 
 CONSTRUCTIVE WORK WITH COVER PAPER 
 
 This series of folds is a step in advance of the kin- 
 dergarten folds of the previous chapter. It is there- 
 fore suitable for first-year work after the class has 
 completed the other course, or may be given to sec- 
 ond or third year classes without taking up the kin- 
 dergarten folds. 
 
 The materials for this course are construction 
 paper, cut 7 x 7, scissors, and paste. A heavy ma- 
 nila may be substituted for cover paper, though the 
 latter is more attractive, as it is obtainable in colors. 
 
 It is suggested that a playhouse made of boxes be 
 furnished in connection with this course. Large 
 weaving mats or raffia mats may be used for floor 
 covering. This will be an object of great interest 
 and pride. 
 
 The fundamental fold in this series is the sixteen 
 square, the dictation for which is given below, after 
 which it will not be repeated in full. In work with 
 the class the dictation should be repeated in full each 
 time. 
 
 In connection with this course of dictated work, 
 children should be given frequent opportunities to 
 work out their own ideas of the various models. If 
 the child has preconceived notions, or if, through ob- 
 servation, he receives a modified impression of some 
 dictated form, by all means let him express it. The 
 purpose of this course will be lacking if it does not 
 
Folding and Construction Work 
 
 123 
 
 develop power to work originally and independently. 
 
 With this end in view, occasionally give the class 
 
 squares of paper for "free work." In some instances 
 
 it will be well to name the object they will make the 
 
 next day, with the injunction to observe such objects 
 
 and be ready for work. Variations of a form already 
 
 made may be suggested ; if it is the cart, a seat might 
 
 be added, or a top, or, it 
 
 might have four wheels, 
 
 while some inventive spirits 
 
 will certainly devise axles. 
 At other times let them 
 
 make whatever they wish, 
 
 being sure that they have 
 
 some plan in mind before 
 
 they begin work; aimless 
 
 effort must not be allowed. 
 Sixteen Square. — Fold front edge to back edge. 
 
 Unfold. Fold right edge to left edge. Unfold. Fold 
 
 front edge to middle line. 
 Fold back edge to middle 
 line. Unfold both folds. 
 Fold right edge to middle 
 line. Fold left edge to mid- 
 dle line. Unfold both folds. 
 This gives the sixteen 
 square. 
 
 1. Basket. — Fold the six- 
 teen square. Cut along the 
 
 
 BACK 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
124 
 
 What and How 
 
 heavy line ab, cutting off one strip of squares. Place 
 the larger piece remaining on the desk with the nar- 
 row edge to the front. We have now two creases 
 going from front to back, and three from left to right. 
 
 Cut the two creases at the front to the first transverse 
 crease, or the depth of one square as indicated by 
 heavy lines in the diagram. In the same way cut the 
 
 creases at the back. Stand up the sides, fold the three 
 squares at each end, one over the other, and paste, 
 and an oblong box is made. Cut a handle from the 
 strip that was detached, and paste on the inside of 
 the middle of each side. 
 
 on 
 
Folding and Construction Work 
 
 125 
 
 2. Wall Pocket. — Fold a sixteen square. Cut out 
 the two corner squares at the back, make two cuts in 
 the right edge, and two in the left as shown by the 
 heavy lines in diagram A. Fold the three squares 
 
 at each side to form an oblong box like the basket. 
 This leaves a rectangle standing at the back; trim 
 off the corners ; it forms the back of the wall pocket. 
 3. Cart. — Fold an oblong box like the basket. 
 Trace around inch tablets, and cut out the wheels. 
 
 Either paste these on the cart, or use a toothpick for 
 an axle, or fasten them on with small collar buttons. 
 Cut a tongue from the detached strip. 
 
 k. Sofa. — Fold an oblong box like the basket. 
 Provide each child with an extra piece four squares 
 
126 
 
 Wh at and How 
 
 long by two squares wide, or one half of the six-inch 
 square. Placing this on the desk with the long edge 
 to the front, fold the left edge on to the right edge. 
 
 B , 
 
 V 
 
 Keeping it folded, cut the back, right squares, as 
 shown by the curved line, diagram B. It is advisable 
 to have this line drawn before cutting. Using the 
 
 1 
 i / 
 
 box inverted for the body of the sofa, paste this piece 
 around it, so that it forms the back and arms. 
 
Folding and Construction Work 127 
 
 5. Cupboard. — Fold the sixteen square. Cut on 
 heavy lines shown in diagram C, cutting out two cor- 
 
 c 
 
 ner squares at the right. Fold to form an oblong 
 box with cover. Give each child an extra strip three 
 squares long by one square wide. These should be 
 prepared by the teacher ; one six- 
 teen square can be cut into five 
 strips of three squares each. 
 The square in the middle is a 
 shelf. The end squares are sup- 
 ports. The box standing on end 
 is a cupboard with a door. Ap- 
 ply paste to the supports and fit 
 the shelf across the middle of the 
 cupboard; see that the supports 
 touch the bottom and the shelf is bound to be 
 straight. 
 
 m 
 
128 
 
 What and How 
 
 6. Chair. — Fold 
 the sixteen square. 
 Cut off a strip of 
 four squares at the 
 right. Cut off a strip 
 of three squares at 
 the back. This leaves 
 a nine square; make 
 two cuts at the front 
 and two at the back, 
 as shown in diagram 
 D. 
 
 Stand up middle square at the back for the back 
 of the chair; fold down the sides and front, fitting 
 three squares, one over the other, at the front and 
 two at the back. If the class is proficient, let them 
 
 D 
 
 1 
 
 w\ 
 
 cut out small squares from the sides upon which the 
 box stands; this makes the legs. Be sure the paste 
 11 is dry before cutting. 
 
Folding and Construction Work 
 
 129 
 
 7. Tent. — Fold the sixteen square. Cut heavy 
 lines, diagram E. Lines may be ruled for the diag- 
 
 
 c 
 
 d \. 
 
 
 
 1 
 
 
 
 i 
 
 
 a 
 
 b • / 
 
 onals of corner squares. Fold on the middle verti- 
 cal line ; fold square a so that it lies on 6, and c on d. 
 
 After the paste is dry, make one cut in the end for 
 a door. 
 
130 
 
 What and How 
 
 8. Dog House. — Fold sixteen square. Cut heavy 
 lines, diagram F. Fold square a on 6, and c on d, as 
 
 c d 
 
 a b 
 
 in making the tent. This makes the roof of the house. 
 Fold the sides down straight, folding the corner 
 
 squares one over the other to form the ends of the 
 house. Cut a door in the side. 
 
Folding and Construction Work 
 
 131 
 
 9. Trough.— Fold 
 sixteen square and cut 
 as for dog house. 
 Fold and paste square 
 a on b, and c on d in 
 the same manner. In- 
 stead of turning the 
 straight sides down, they 
 are reversed and turned 
 
 back, leaving the roof in- 
 verted for a trough. Cut 
 
 off the projecting corners. 
 10. Trunk. — Fold six- 
 teen square. Cut on heavy 
 
 lines, diagram G. It will 
 
 be necessary to draw the diagonals of the two corner 
 
 squares at the back to get the projecting angles on the 
 
 cover. Make a box, 
 
 leaving the side with 
 
 the projecting angles 
 
 for the cover. Paste 
 
 a narrow strip on the 
 
 under side of the cover 
 
 in the middle of the 
 
 front edge for a strap, 
 
 mark, and then cut a 
 
 short horizontal slit in 
 
 which to fasten the 
 
 strap. 
 
 cover 
 
132 
 
 Wh at and Ho 
 
 w 
 
 11. Armchair. — 
 Fold the sixteen square. 
 Cut heavy lines, dia- 
 gram H. Fold and 
 paste to form a small 
 square box. Have pre- 
 pared pieces of paper 
 two squares by three 
 squares for the back 
 and arms. Fold this 
 so that the edge ab 
 lies on the edge cd. Cut 
 as in diagram I. If this seems very difficult, let the 
 children mark it first, and cut after inspection. The 
 
 
 H 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 corners of the back may be 
 rounded. Unfold and paste 
 around the box, letting the bottom 
 of the box be the seat of the chair. 
 
Folding and Construction Work 
 
 133 
 
 
 12. Table. — Fold the sixteen square. Cut off one 
 strip of four squares, leaving a rectangle four squares 
 by three squares. Cut off from one end of this rec- 
 tangle a strip of three T 
 squares, leaving a square 
 three squares by three 
 squares. 
 
 Fold the front edge to the 
 next parallel crease. Fold 
 the back edge to the next 
 crease parallel to it. Un- 
 fold both folds. Fold the 
 right edge to the next crease 
 parallel to it. Fold the left 
 
 edge to the next parallel crease. Unfold both folds. 
 We now have creases one-half square from the edge 
 
 all around. Make 
 two cuts at the 
 front and two cuts 
 at the back, each 
 one-half square in 
 length, as indicated 
 in diagram. Fold 
 and paste, making a 
 shallow square box, 
 one-half square in 
 depth, which serves 
 as the table top. From the detached strips cut four 
 short strips, each one and one-half squares long and 
 
134 
 
 What and Ho 
 
 one square wide. As it is important that these be 
 of the same length, place them together and make 
 the ends even. These pieces, which now measure 
 one by one and one-half squares, are to be used as the 
 
 legs. Placing one of 
 these short strips on 
 the desk with its long 
 edge to the front, fold 
 as follows: Fold the 
 front edge to the back 
 edge. Unfold. Fold 
 the front edge to the 
 middle line; fold the 
 back edge to the middle 
 line. Do not unfold, 
 but insert paste under the edges, meeting at the mid- 
 dle line, making a strong table leg. Repeat this with 
 the remaining rectangular strips. In pasting the legs 
 in the corners be sure 
 that each leg touches 
 the under side of the 
 top of the table. 
 This insures their 
 being of equal length. 
 13. Washstand. 
 — This requires two 
 of the six-inch 
 squares. Fold two 
 sixteen squares. Cut 
 
 K 
 
 door 
 
 door 
 
 
 ! i ; 
 
 ,-''?''-- 
 
Folding and Construction Work 
 
 135 
 
 one on heavy lines in dia- 
 gram K, and paste to form a 
 box two squares by two 
 squares on the bottom and 
 one square deep. Cut the 
 other on heavy lines in dia- 
 
 M 
 
 way on the opposite 
 side. A strip of four 
 squares is doubled and 
 cut for the board 
 around the top, dia- 
 gram M. 
 
 U. Bed. -Fold 
 the sixteen square. 
 Fold the front edge to 
 the first crease paral- 
 lel to the front. Fold 
 the back edge to the 
 
 gram L. The two small- 
 er squares, measuring 
 two squares each way, 
 are doubled to form the 
 doors; paste is applied 
 to one half of this square 
 and it is fitted to the 
 inside of one side of the 
 box ; the other half forms 
 the door. The other 
 door is applied the same 
 
136 
 
 Wh at and Ho 
 
 first crease parallel to the 
 back. Unfold both folds. 
 Cut on heavy lines in dia- 
 gram N. It will be noticed 
 that the cuts are only half 
 a square in length. Fold 
 the middle rectangular piece at each end down, and 
 the half squares at the corners over it, 
 and paste. Have ready two pieces, 
 one two squares by two squares for 
 the head board, and one 
 squares by one and 
 one-half squares for 
 the foot; paste one 
 on each end, thus 
 covering the space 
 left by the half squares. 
 
 A pillow can be made by wrapping and pasting a 
 white paper around a pencil, then slipping it off. A 
 
 small weaving 
 
 mat may be 
 
 used for a quilt. 
 
 15. Cradle. -Fold 
 
 the sixteen square. 
 
 Cut off one strip of 
 
 four squares. Fold 
 
 each edge to the 
 
 next parallel crease 
 
 and unfold. These 
 
 --. 
 
 head -board 
 
Folding and Construction Work 
 
 137 
 
 new creases make the 
 heavy lines which are 
 to be cut in diagram. 
 Cut the longest lines 
 first. Fold and paste 
 the box, which will be 
 two squares long, one 
 square wide 
 
 and one- 
 half square 
 and rockers, 
 
 therefore this model is placed 
 near the end of the series. 
 
 17. Go-cart. — This requires 
 two of the sixteen squares. 
 Fold a sixteen square. Cut 
 off one strip of four squares. 
 Draw lines shown in diagram 
 0. By this time the class 
 ought to be able to work from 
 a blackboard diagram. After 
 inspection, allow them to cut 
 on these lines. Fold to make 
 
 deep. The head-piece 
 which should be doubled 
 and cut, are pasted on afterward. 
 
 16. Rocking-chair. — This is made 
 exactly like the first chair, No. 6, with 
 the addition of the rounds and rock- 
 ers, which are cut separately and 
 pasted. It requires a delicacy of 
 touch to paste these small pieces; 
 
 o 
 
138 
 
 What and Ho 
 
 w 
 
 a box, which forms the body of the go-cart. Cut a 
 "shaving" off the foot-board to make it the right 
 height. For the top, fold the other sixteen square. 
 Cut off one strip. First mark heavy lines in dia- 
 gram P; after inspection, cut. 
 
 These squares marked 1, 2, and 3 are folded one 
 
 ■ 
 
 2 
 
 3 / 
 
 \ 
 
 
 
 a 
 
 X 
 
 . b 
 
 
 „. , 
 
 c 
 
 y 
 
 d 
 
 
 over the other for the top. 
 The square marked x is the 
 seat. The squares a and b 
 are pasted to the sides of the 
 go-cart, while c and d turn 
 up under, meeting in the 
 middle, and support the seat; 
 
 y% is the apron which comes down in front over the 
 supports. Use the detached strips for handle and 
 
Folding and Construction Work 
 
 139 
 
 wheels. The handle is a long, straight strip, five 
 squares long; the wheels are traced and cut, then 
 pasted ; the supports under the seat do not allow the 
 use of toothpick for an axle. By making round holes 
 with a punch in the buggy and corresponding ones 
 in the wheels collar buttons may be used to fasten on 
 the wheels. In this connection use the shortest col- 
 lar button obtainable. 
 
 The next four forms introduce work with the ruler. 
 
 A few preliminary exercises to familiarize the class 
 with the use of the ruler should be given. These forms 
 are too difficult for average first-year work. 
 
 18. Box. — The same sized square is used. Divide 
 each side into thirds by placing marks at 2 and 4 on 
 the ruler. Draw lines, using the ruler, connecting 
 these marks as in diagram Q. Cut out the small tri- 
 
140 
 
 What and Ho 
 
 angular pieces at the sides indicated by heavy lines. 
 Fold up the sides on lines; turn back the corners. 
 Punch holes and tie with ribbon or zephyr. 
 
 19. — Place a mark one and one-half inches from 
 each corner on each side of 
 the square. To avoid mis- 
 takes, let each child find one 
 and one-half inches on the 
 ruler and mark it with a col- 
 ored pencil. Connect marks 
 as in diagram S, and cut the 
 heavy lines at the corners. 
 Stand up the sides and paste, 
 
 s 
 
 
 
 
 
 
 Z\ 
 
 \ 
 
 letting two flaps go inside 
 and two outside the box at 
 each end. The flaps should 
 be flush with the top edge. 
 
 ^K\ 
 
Folding and Construction Work 
 
 141 
 
 20. — On each side of the square place marks at 1, 
 2, 4, and 5 inches from the corner. Connect the marks 
 one inch from the corners, as in diagram T, and cut 
 
 
 out the corner squares as indicated by the heavy lines. 
 Now draw connecting lines shown in diagram U, and 
 cut the heavy lines. Stand up the sides, making each 
 flap go inside. 
 
The starting point of thought is by sense 
 impression, — the direct impression that is 
 produced by the world in our internal and 
 external senses. — Pestalozzi. 
 
THE UTILITARIAN SIDE 
 
 While the utilitarian side is ofttimes a necessary 
 one, it should by no means follow that each sewing 
 card or weaving mat made is valueless unless put to 
 some practical use. It is a mistaken idea, and one 
 that should not be developed, — that of measuring the 
 value of effort or labor only by the practicality or 
 commercial value of the result. The true apprecia- 
 tion of a color harmony, or a rhythmic motive, is a 
 feeling harder of cultivation, but one which, when de- 
 veloped, brings its own reward. 
 
 For those times when the practical application may 
 be desired, a few suggestions are here offered. 
 
 The weaving mat or sewing card may be converted 
 into a calendar, match-scratcher, or wall pocket, as 
 illustrated. 
 
 A pretty gift blotter may be made by pasting a 
 sewing card or weaving mat to blotting paper of the 
 same size, or either of these may be used for the cover 
 to shaving papers or blank leaves for laundry lists. 
 
 Other uses will be found under "Holiday Work." 
 
 A FEW SUGGESTIONS 
 
 In order to have each class on schedule time, it is 
 necessary to have the distribution and collection of ma- 
 
144 What and How 
 
 terials reduced to a science minimizing the time re- 
 quired and avoiding confusion between classes. It is 
 of course necessary to have all the materials prepared 
 and ready for use. Sewing and weaving should be 
 kept in individual cases, in which the needle may also 
 be kept. Sticks should also be in individual boxes, 
 so that counting out a certain number each time will 
 not be necessary. 
 
 Paste may be passed quickly by placing a small 
 amount on a little piece of paper on each child's desk. 
 This does away with collecting or washing paste 
 dishes and small amounts left over may be passed 
 freely to those who have not enough. 
 
 In large classes it will be found helpful to keep the 
 materials belonging to each row, or class, separate; 
 they can be distributed much more quickly and read- 
 ily if kept in this way. The small, wooden butter 
 trays used by grocers are convenient for passing 
 sticks, tablets, word-cards, etc. 
 
 A mounting book, in which the sewing, cutting, 
 weaving, and other forms of hand work can be pre- 
 served is a matter of great pride. It makes a Christ- 
 mas gift which is ofttimes preserved for years. 
 
 Plain ingrain wall-paper or cover paper are suit- 
 able materials for mounting books. 
 * Pretty cover designs for mounting books may be 
 made with parquetry forms. 
 
Utilitarian Side 145 
 
 HOLIDAY WORK 
 
 For Thanksgiving. — Sew and color leaves, turkeys, 
 or pumpkins. Cut "Mayflower," pilgrim, bows, and 
 arrows. 
 
 For Washington's and Lincoln's Birthdays. — Fold 
 picture frames for miniature pictures of Washington 
 and Lincoln. A red and a blue frame, one for Wash- 
 ington and one for Lincoln, may be tied with white 
 ribbon. 
 
 For Valentine's Day. — Cut or sew birds and hearts. 
 A heart cut from gold or colored paper and pasted in 
 the folded picture-frame makes a pretty valentine. A 
 sheet of small embossed flowers is indispensable at 
 this time. 
 
 For Easter. — Sew or cut butterflies. Sew or cut 
 a chicken peeping from a shell. 
 
 For May-day. — Several baskets or boxes are given 
 in the chapter on "Folding," which may be used as 
 May-baskets. Cut and color flowers and leaves. 
 
 For Christmas. — Until children are of school age, 
 they, as a general rule, think of Christmas only as a 
 time when they receive presents. As early as possible 
 they should learn that the true Christmas spirit is to 
 make others happy — that "it is better to give than to 
 receive." 
 
 It is well worth any trouble it may have been to 
 see the shining faces as they take home their myste- 
 rious, well-wrapped packages to hide — 0, the delight 
 of it ! — till Christmas morning. It may be only a col- 
 
146 What and Ho 
 
 w 
 
 ored drawing, but, if it is dignified by the addition of 
 a calendar pad, the child tastes the joy of giving some- 
 thing made by his own hands. 
 
 A flower or sprig of holly may be sewed and colored 
 in each outward turning corner of the box on 
 page 140 ; make the box of a 7 x 7 square, tie the cor- 
 ners with ribbon, and we have a dainty trinket box. 
 
 Sachet. — Fold a 7 x 7 weaving mat diagonally. 
 Place cotton and sachet inside. Paste or sew with 
 several threads of zephyr, making a little tuft or bow 
 at each corner of the triangle. 
 
 Bookmark. — Use a piece of cover paper or bristol 
 board 2x4. Fold on 
 dotted lines. Sew or 
 paste a flower or but- 
 terfly cut from col- 
 ored paper, and tie 
 with ribbon. 
 
 A few designs are 
 given for cards about 6 x 8. These may be used 
 variously ; a calendar pad may be pasted on ; a 
 piece of sandpaper will make it a match scratcher ; 
 the addition of the wall pocket on page 125 will 
 make it a match-safe as well. 
 ,A small writing pad, 2x4, pasted on a sewing 
 card or weaving mat, with a dainty pencil attached, 
 will be convenient for mother when she writes a 
 
Utilitarian Side 
 
 147 
 
 note. Blocks of pads are obtaina- 
 ble at the stationer's or printer's. 
 
 Cylindrical Box for Burnt 
 Matches or Combings. — Mount an 
 oblong weaving mat, 5 x 7, on heavy 
 paper or bristol board of the same 
 size to give it firmness. Curve or 
 roll it to form a cylinder, the depth 
 of which shall be the short dimen- 
 sion of the mat. Punch holes along 
 the two edges which meet, and tie 
 or lace with raffia, worsted, or rib- 
 bon. Fit to it a circular bottom, 
 and fasten them together by tying 
 or lacing as before. Make a handle 
 of braided raffia or ribbon by which 
 to suspend it. 
 
 
 
 
 
 
 ■■■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
148 
 

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 HOLIDAY WORK, GUTTING AND PARQUETRY 
 
 154 
 
DAILY OUTLINES FOR 
 HANDWORK 
 
 It is readily granted that the suggestions for work 
 having teen given, the program itself should be left 
 free and elastic. In the face of this oft-quoted state- 
 ment the following outlines are submitted for those 
 teachers whose numerous duties do not give them 
 time to plan all their work previously to their own 
 satisfaction. 
 
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LIBRARY OF CONGRESS 
 
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